For the past 15 years Robert Janz has been producing what he calls “nomadic” art. Compact, portable, adaptable, transient, recyclable, his work involves open-ended propositions. Different sets of stick sculptures can be arranged and rearranged in an infinite number of variations within preordained conceptual limits. Some are keyed to specific sites (any arrangement in a doorway, any arrangement in a glade), while those in this exhibition specify the method of arrangement (all sticks in contact with each other, all sticks at right angles). All incorporate a sense of play, almost like matchstick

Constructivism, like its International-Style architectural cousin, can easily degenerate into an inert sterility. The utopian dream of sparkling clarity in spatial organization for the creation of liberating environments has emerged, as often as not, as restrictive containment, spit and polish for the eye and brain.

Manuel Felguerez’ sculpture is firmly lodged in the constructivist tradition. Much of the work on view is the result of a collaboration in 1976 at Harvard University with Mayer Sasson, an electrical engineer. They developed a mathematical model from eight basic shapes in the artist’s

Don Sorenson structures his paintings with webs of zig-zag lines set diagonally in opposition to the vertical or horizontal canvas format. This surface “drawing” has remained fairly constant for the past several years with the major variation occurring in the under-painting. This time out, the underpainting consists of broad strokes of color in gradations from warm to cool, intense to muted, light to dark, creating a shallow, indeterminate space. The overlay of lightning bolts, themselves ordered by a complex color system, results in highly vertiginous paintings.

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